[22] Finished perspective (relating to Stage IV) by George Basevi, one dated 2 March 1816

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Monuments and mausolea
  - London: St Giles in the Fields burial ground (now St Pancras Gardens), Camden: Soane monument [the 'Soane Tomb'], 1816, 1828 (47)

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Reference number

SM 63/7/33

Purpose

[22] Finished perspective (relating to Stage IV) by George Basevi, one dated 2 March 1816

Aspect

Perspective from the north-west, set among (imaginary) trees with the tower of St Pancras church in the background; the design relating to that shown in drawing SM 14/4/8

Medium and dimensions

Pen, raw umber, sepia, green and blue washes, watercolour technique with black wash border on wove paper (611 x 743, 617 x 738)

Hand

George Basevi (1794-1845, pupil 1810-16)

Watermark

[T]urkey Mill Kent

Notes

The office Day Book has the following entries: 27 February to 1 March 1816 'Drawing view of Monument' signed Basevi; 2 March 'Finishing drawing of Monument and making two slight sketches for another drawing' signed Basevi.

Both drawings, this one and SM 23/7/32, still show the gateway and relate to the design shown in Gandy's perspective (drawing SM 14/4/8).

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

If you have any further information about this object, please contact us: drawings@soane.org.uk

Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

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